







COPYRIGHT DEPCKlft 




















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AMATEUR 

ENLARGING 


By 

John P. 0* Callaghan 

Sta// Sergeant 

FIFTEENTH PHOTOGRAPHIC SECTION 
Air Corps. U. S. Army 


First Edition 

JULY ' 1928 


CAMERA CRAFT PUBLISHING CO 

703 Market Street ' San Francisco. California 


I? a. 



















, 0 ^> 


Copyrighted 1928, by 

CAMERA CRAFT PUBLISHING COMPANY 



©CIA 1281 


Printed by the MERCURY PRESS 

SAN FRANCISCO, CALIFORNIA, U. S. A. 


GUIDE TO ADVERTISERS 


Agfa Ansco Corporation . 87 

Camera Craft Publishing Company.86, 88, 90 

Defender Photo Supply Company, Inc. 92 

Gevaert Company of America, Inc., The. 91 

Leitz, Inc., E.,. v ......84, 85 

Medo Photo Supply Corp. 89 

San Francisco Camera Exchange. 83 

.Willoughbys 


89 










CONTENTS 

CHAPTER PAGE 

I Introductory . 5 

II Enlarging Apparatus .*. 9 

III Condensers and Reflectors.19 

IV Safelight ...23 

V Selecting the Negative .25 

VI Making Test Exposures .:.27 

VII Enlarging Papers . 31 

VIII Control in Printing .35 

IX Some Notes on Developers, etc.39 

X Sepia Tones .43 

XI Extra Large Prints .45 

XII Spotting .47 

XIII Mounting ..._..49 

XIV Defects in Negatives.52 

XV Defects in Enlargements .55 

XVI Miscellaneous Notes .58 

XVII Glossary of Terms.61 

Excerpts from Camera Craft ...63 

Illustrations from Camera Craft 




















CONTENTS —Continued 
EXCERPTS FROM CAMERA CRAFT 


Enlarging Box for my Camera, How I Made an.70 

By Harry B. Bradford 

Enlarging Outfit for V. P. Negatives.80 

Facts About Enlarging, Some.64 

Making a Picture from a Snapshot.67 

Illustrated by Dr. Clara J. Stillman 

Wrinkle for Making Enlargements.65 

By L. C. Ferguson 


Illustrations from Camera Craft 









^PREFACE 

Effort has been made to include in this 
little book, everything that would help 
the beginner and to leave out anything 
which might confuse him. It is assumed, 
that he has made contact prints and has 
some idea of simple dark-room practice. 
This is by no means all that there is to 
enlarging, but having mastered the sim¬ 
ple rules herein outlined, the beginner 
will be able to make a start. 

Please feel free to write me, if anything 
in this book does not seem clear to you. 
I will be only too pleased to help you if I 
can. 

John P. O’Callaghan 
San Francisco, 
California 


July, 1928 



Sergeant John P. O’Callaghan 


✓ 




AMATEUR ENLARGING 

By John P. O’Callaghan 


CHAPTER I 
INTRODUCTORY 

In this day of the small camera, it becomes increas¬ 
ingly difficult to interest the serious amateur in the 
bulky instruments formerly used. The small bulk 
and light weight of the modern hand camera make it 
easy to carry almost anywhere without inconvenience. 

The drawback is the small size of the picture. Quite 
apart from its size, the small camera is, of course 
economical to use. But we long for larger prints and 
for more latitude for control and modification in print¬ 
ing, and this leads to the consideration of the enlarge¬ 
ment. 

Those who have ever made enlargements know that 
a negative from which a good contact print can be 
made will nearly always yield an even better enlarge¬ 
ment, and there seems to be no good reason why those 
who do their own printing should not also make their 
own enlargements. 

The stumbling-block seems to be the prevalent idea 
that there must be something mysterious and very 
difficult about the making of an enlargement, but in 
reality it is quite as simple as the making of a con¬ 
tact print, and vastly more interesting. 

In making a contact print, the paper and negative 
are placed in contact in the printer or printing frame. 
The light is permitted to pass through the negative 
onto the paper for a given time. The print is then 
developed and we accept it ‘‘as is.” 


— 5 — 


Amateur Enlarging 


Making an enlargement is a somewhat similar pro¬ 
cedure, except that the negative and the paper are 
separated while printing and that the resulting print 
may be good or otherwise, depending upon the skill 
of the operator. 

Unlike contact printing, enlarging permits the oper¬ 
ator to control the light, so that he may hold back the 
thinner portions of the negative in order to build up 
those parts which require longer printing time, such 
as holding back the foreground in landscapes, while 
the sky and clouds print up to secure soft-focus or 
diffused effects; and for other reasons, which we will 
discover as we gain experience. 

It may happen that the first few attempts will not 
be glaringly successful, but this will not be because the 
process is difficult, but rather because the beginner 
lacks confidence in his own ability, through over¬ 
anxiety, or through carelessness. Nothing worth while 
can be accomplished without thought, and this applies 
to the making of an enlargement as well as to the mak¬ 
ing of any other thing. 

In the following pages, I will try to tell you in the 
fewest words and in non-technical language, how you 
may acquire proficiency in this most fascinating branch 
of photography. 

Professionals as well as amateurs know that we do 
not always get the composition in our negatives just 
as we would like, but we are sure, that when we 
made the negative, we had a certain picture in 
mind and believe it is in the negative somewhere, if 
we can but find it. Suppose we make a contact print 
from this negative, and after examining it carefully, 
mask out the undesirable features where possible. We 
usually find that our picture is there, but that the 
image is too .small to show to advantage. In making 
our enlargement, we know what will help the picture 
and should be included in the enlargement, and what 


— 6 — 



Amateur Enlarging 


will not help and so should be masked out. The image 
may then be projected to the desired size and the 
result is usually satisfactory. 

However, as we proceed and as our work improves, 
we become more and more critical. This is as it 
should be. Good work nearly always leads to better 
and we begin to have an appreciation of values and to 
have an understanding of the fundamentals of pictorial 
composition. 

It is said, that Tolstoy consumed nearly twelve years 
in writing a book to answer the question ‘‘What is 
Art ? ” so it is not for me to attempt an answer; but I 
do think that we should have a mark at which to shoot. 
That is, some concept of Art, &nd your opinion is as 
good as mine. It is my personal opinion that an under¬ 
standing of Art comes to us like Salvation or the 
Measles; we are each at some time exposed to it; on 
some of us it “ takes / 1 while others seem to be immune. 

Taste in pictures may be educated, cultivated. We 
view the beautiful pictures in the art galleries; at 
photographic salons and exhibitions; in the photog¬ 
raphic annuals and magazines and in the display cases 
of the better photographers in our own cities. 

All of this is helping to train the eye to look for what 
is good in pictures; our own, as well as those of other 
workers. 

If there be a camera club located conveniently, by 
all means join it. Most camera clubs have well equip¬ 
ped laboratories and dark-rooms for the use of their 
members. Among the membership there are always 
clever workers who will be glad to help you with con¬ 
structive criticism, advice and example. 

I have intended that the foregoing chapter should 
be more or less inspirational and if I have held your 
interest thus far, I know that you will experience no 
difficulty in mastering what is to follow. 





Amateur 


Enlarging 




8 













CHAPTER It 

ENLARGING APPARATUS 

The simplest of all enlargers is the Fixed Focus type. 
This consists of a light-tight box or cone. The negative 
is placed between two pieces of clear glass in a frame 
or holder at one end and the paper at the opposite 
end. The lens is fixed at the proper distance between. 

This enlarger must be loaded in the dark-room; then 
carried to the white light, usually daylight. The nega¬ 
tive end is turned toward the light source for the re¬ 
quired time. The cone is then carried back to the 
dark-room, where the paper is removed, developed, 
fixed and washed. 

This enlarger is simple of construction, inexpensive 
and almost fool-proof. Its disadvantages are that it is 
rather wasteful of paper, the size of the enlargement 
is limited, and that it affords little or no opportunity 
for modification or control while printing. Its opera¬ 
tion is mechanical, and once the proper exposure time 
is learned, for a particular negative, there is little else 
to learn about it. 

Small cameras using motion picture film are now 
coming into popular use. With these a large number 
of negatives may be made with a single loading. One 
of the popular models is the Ansco Memo. While it is 
intended for use in a projector, the negative film may 
also be used to make enlargements, just as any other 
negative. 

The “Leica” pocket roll film is another of the roll 
film type, using motion picture film. This little camera 
while very light and compact, is capable of making 
negatives of the highest quality. This company also 
makes a projector which may be used in daylight or 
artificial light by means of which enlargements of post 
card size are made. This is the ideal album size. 
If it is desired, these negatives may be projected for 
enlargements of larger size and of excellent' quality. 


— 9 — 


Amateur Enlarging 


But as we all desire to move forward and to improve 
our work, we look for, in an enlarging camera, an 
instrument which will allow us greater latitude than 
the fixed-focus types afford. If our aim is to make 
pictures, we will require more flexibility in the process 
of printing, which leads to the consideration of other 
types of enlargers. 

There are two other types of enlargers; the hori¬ 
zontal and the vertical types, the latter type usually 
called Projection Printers. Horizontal enlargers may 
be adapted to use either daylight or artificial light. 

When enlarging by daylight, the back of the en¬ 
larging camera is fitted into an aperture in the dark¬ 
room window. The remainder of the window is covered 
up in such a manner as to exclude all light except 
that which passes through the negative and the lens. 
A north window should be selected when practicable, 
as the light from this direction is less variable than 
from any other. A reflector, made from a board, 
covered with white paper or blotting-paper, should be 
placed outside the opening, at an angle of about 45 
degrees. This is for the purpose of reflecting light 
from the sky onto the negative. 

It is not my purpose here to devote much time to 
lengthy discussion of daylight enlargers, for today 
nearly all amateurs desire to do their work during the 
evening by electric light, and those so fortunately 1 
situated that they can work during the day will also 
find that it is most convenient to use artificial light, 
as it is not subject to the variations due to seasonal or 
atmospheric changes, as is daylight. 

The lighting systems generally used for enlarging 
are: The Carbon Arc Light; Mercury Vapor Tubes and 
the Concentrated Filament Electric Bulbs. The Carbon 
Arc is used by many professionals who do a large 
volume of enlarging. It gives an intense white light, 
but it heats rather quickly, and requires a large and 


— 10 — 



Amateur Enlarging 


well ventilated lamp-house, and is somewhat subject 
to “ flicker, ” except in the latest types and models. 

The Mercury Vapor tubes are probably the ideal 
enlarging light. This light has a very high actinic 
register for photographic purposes, does not heat 
readily, is economical of current and is easy on the eyes. 
For enlargers, the “M” tube enjoys a wide popularity 
in the profession. However, this system is rather too 
expensive for the amateur, for whom this little book is 
being written, and I think the most practicable il- 
luminant for our purposes is the concentrated filament 
electric bulb of the Mazda type, of from 60 to 250 
watts, depending upon the kind of enlarger to be used. 
These bulbs are easy to install or replace and are 
economical and reliable. 



—li— 








Amateur Enlarging 


Elwood Enlarger 



This enlarger can be used verti¬ 
cally or horizontally and will make 
enlargements from negatives 5x7 
or smaller. It has a silvered and 
highly polished parabola-reflector. 
Your camera may be clamped to 
lens board of enlarger or your 
lens may be mounted directly to 
lens board. This is not an auto¬ 
matic focusing enlarger. 




Horizontal Enlarger 

A simple and inexpensive little enlarger which sells 
at about the price of the cheapest of the small vertical 
enlargers. These should be inspected and compared 
with other types before deciding upon which to buy. 


— 12 — 


















Amateur Enlarging 


Kodak Auto-Focus Enlarger 

This enlarger will 
make clear, sharp en¬ 
largements from any 
negatives up to 4x6 
inches in size. The 
prints may be from l l / 2 
to 31/2 times the dimen¬ 
sions of the negative 
used or in other words, 
from 2t/4 to 12^ times 
its area. The largest 
print that can be made 
with the enlarger is 
14x21 inches, and the 
largest print that can 
be made from a nega¬ 
tive I%x2 y 2 inches is 
approximately S^x8*4 
inches. 

The enlargement can 
be made from either a 
film or plate negative. 
The film can be either 
a separate negative or 
can be enlarged while still in the strip, a slot being 
placed in either end of the film holder for this purpose. 



— 13 — 




Amateur Enlarging 


Leica Enlarging Apparatus 

This outfit represents a simple 
type enlarger to prepare postcard 
size enlargements from Leica nega¬ 
tives with daylight or artificial light. 

It is of the fixed focus type and 
the hinged back permits the inser¬ 
tion of postcard size enlarging paper 
in an easy manner. 

The negative is placed under an 
optically piano glass plate in front 
of the box and two metal clips hold 
the film fiat in place. The special 
objective 64mm focal length with a 
relative opening of F-4.5 covers the 
entire surface of the enlarging paper 
without showing distortion on the edges. 

The time of exposure for an average negative is 
about 15 seconds by using the special opal glass bulb 
100 watt and the latter guarantees a uniform and dif¬ 
fused illumination over the entire negative. 



— 14 — 




Amateur Enlarging 


Leica New Variable Enlarging Apparatus for 
Artificial Light 



This enlarging apparatus is a 
simple device to prepare en¬ 
largements from negatives on 
standard motion picture film up 
to 11x14" and even larger. 

The source of illumination 
consists of a 60 watt opal glass 
bulb and with a special con¬ 
denser in connection with a 
well corrected objective, hav¬ 
ing a relative opening of F-3.5, 
(focal length 50mm) ; the en¬ 
largements obtained are well 
defined over the entire field. 

By raising and low¬ 
ering the lamp hous¬ 
ing which carries the 
film and objective, 
the apparatus can 
quickly be set to make enlargements of the desired 
size. The simple way of holding the film permits that 
either the whole or part of the negative can be enlarg¬ 
ed, a fact which will be appreciated by any pictorial 
photographer. At a slight additional cost this outfit 
can also be furnished with an iris diaphragm between 
the lens system which forms additional means to im¬ 
prove the quality of the enlargements to be made. 






Amateur Enlarging 


The Memo Film Enlarging Printer 



This machine is designed for 
making enlarged prints from 
Memo Camera negatives on 
Noko Paper. Because of its 
high speed optical system and 
illumination, bromide or other 
enlarging paper is not re¬ 
quired. Printing may be done 
in the same room used for reg¬ 
ular contact work, and average 
negatives will give prints on 
Noko in from 10 to 20 seconds. 

Prints in either of two stand¬ 
ard amateur sizes may be made 
-- 214 x 314 and 314 x 414 . 

It can also be used for 35MM. 
exposures and for sections of 
larger negatives not greater 
than the size of one motion picture frame. 



— 16 — 



Amateur Enlarging 


Perfection Automatic Enlarger 



This enlarger has ample il¬ 
lumination for chloride 
paper, automatic focus, 
spring balance, for ease of 
operation, border printer, 
print locater, 20x24 inch 
hinged easel, fastens to the 
wall and requires no floor 
space when not in use. An 
efficient enlarger for 5x7 
negatives and smaller. Ac¬ 
commodates lenses of 6 to 7% 
inches focal length. 


— 17 — 



\ 

Amateur Enlarging 



wmrnmm 




























CHAPTER III. 

CONDENSERS AND REFLECTORS 

In using artificial light in an enlarger, it is found 
that the rays of light are scattered in all directions in 
the lamp-house behind the negative, and only com¬ 
paratively few of these rays will pass through the 
negative, unless we adopt some means to direct them, 
so to speak. 

We may collect and direct these rays by means of 
condensers, reflectors or both. We will briefly con¬ 
sider condensers. These are really large glass lenses, 
plano-convex in shape, and are usually used in pairs, 
curved surfaces facing. They are mounted in a frame 
and slightly separated. Sometimes a third condenser 
element is employed. The condensers are placed in 
position in the lamp-house between the light and the 
negative. 

The diameter of the condensers is governed by the 
size of the largest negative used, and should be at 
least equal to the diagonal of the largest negative to 
be used. For instance: if the largest negative is as¬ 
sumed to be 4x5 inches, the condensers should be at 
least 6y 2 inches in diameter; seven inches would be 
better. 

For our purpose, we may assume that the function 
of the condensers is to receive the light rays from the 
lamp and to project these rays as a cone of light which 
will cover the entire area of the negative. A piece 
of ground-glass or of opal glass may be interposed 
between the condenser elements or between the con¬ 
densers and the negative, in order to equalize the il¬ 
lumination of the negative. 

While there is no doubt as to the efficiency of con¬ 
densers, it must be admitted that they are rather ex¬ 
pensive; a pair of about 6y 2 inches in diameter with 
cells, costing in the neighborhood of twenty dollars, 


— 19 — 


Amateur Enlarging 


which is rather more than most of us care to invest at 
first. 

Our next thought is the reflector as a substitute. 
Enlarging with a silvered reflector will give us reason¬ 
ably short exposures, ample illumination and little heat, 
provided, of course, that the reflector is of proper 
shape. 

Any concave reflector will reflect light rays from a 
point source so that they will cross the principal axis, 
if the light can be placed far enough from the reflector; 
but the ellipsoid is the only shape that reflects the rays 
back to another point on the axis of the reflector. 

The reflecting principle is employed in all the en- 
enlargers of the vertical or projection printer type, 
which have been especially designed for use by ama¬ 
teurs, and these enlargers embody many of the quali¬ 
ties of the larger professional projectors. There are 
several different models of projection printers on the 
market. Some of them are “auto-focus”; that is, when 
the lens is moved to increase or decrease the size of 
the enlargement, it is always in focus, regardless of the 
size of the image. Others of these enlargers must be 
focused whenever the size of the projected image is 
changed. In some models, the lens-board may be 
adapted so that you may use your hand camera, lens 
and all, clamped to the front of the enlarger, or the lens 
may be used without the camera. These enlargers may 
ilso be used in the horizontal position, if desired, fixing 
the easel against the opposite wall, which is a desirable 
feature when we may want to make an extra large 
print. 

The prices of these projectors vary from about $30 
to $50 and upwards, and I suggest that you inspect 
some of these models at your dealer’s before attempt¬ 
ing to construct a home-made enlarger. 

Sometimes dealers have on hand used enlargers, 
which may be purchased at a very considerable saving. 


— 20 — 



Amateur Enlarging 


The lens should fully cover the negative to be en¬ 
larged and its focal length should be at least equal to 
the diagonal of the negative. The anastigmat lens is, 
of course, the best for the purpose on account of its 
speed, covering power and flatness of field. However, 
if you are making negatives of one size, the lens with 
which you made the negative will do very well until 
such time as you may feel impelled to buy a lens 
especially for your enlarger. 





P 


A Home-made Enlarger Using the Parallax Reflector 

These reflectors are so constructed that the maxi¬ 
mum efficiency of the light is utilized. This is accom¬ 
plished by the scientific arrangement of a series of 
mirrors which collect the rays and focus them on the 
negative. A ground glass is used between the light and 
the negative to insure even diffusion of light. 

The home-made enlarger comprises a Parallax Re¬ 
flector, “X”; a grooved box for the negative, “N,” 
and ground glass, “G,” with a tin, wooden or card¬ 
board light-shield, “H” and the kodak or hand camera 
in front, as shown in the diagram. 


- 21 - 














Amateur Enlarging 


A 



=>E 


A Light source 
B Ground Glass 
BB Negative 
C Condensers 
D Lens 
E Easel 


An Enlarging System Showing Condensers in Position 


The illuminant, which must be adjustable forward 
and backward, should be located as nearly as possible 
to the correct position for giving even illumination on 
the easel. The front standard of the camera carrying 
the enlarging lens must be adjustable for focusing the 
image on the easel. 

It will be seen from this diagram that as the lens 
is moved forward or back the size of the image is 
changed. 


— 22 — 














CHAPTER IV. 
SAFELIGHT 


Bromide paper, used for enlarging, is coated with an 
emulsion composed principally of bromide of silver 
in gelatin, very similar to the emulsion on the plate or 
film on which we make our negatives. It is sensitive 
to light, not quite so sensitive as the emulsions on 
plates or films, but more sensitive than the slower 
contact papers to which we have become accustomed. 

Bromide paper has remarkable keeping qualities, 
both before and after exposure, but it will fog unless 
protected from unsafe light. 

The Wratten Series 0 Safelight is suitable for use 
with bromide paper, it gives a bright orange light and 
is perfectly safe with ordinary precautions. 

The Agfa Safelight Series 101 is fully to be depended 
upon in every way for the same purpose. 

Before opening your box or package of bromide 
paper, turn out the light and wait a few moments in 
perfect darkness. When your eyes have become ac¬ 
customed to the darkness, look around the dark-room 
and make sure that no stray light enters. Look es¬ 
pecially around doors and window-casing^. Having 
satisfied yourself that all white light has been excluded, 
switch on your dark-room safelight. 



— 23 — 





Amateur Enlarging 



24 — 








CHAPTER V. 

SELECTING THE NEGATIVE 

The negative selected for enlarging should be one 
that is fairly strong and well balanced. Definition 
should be critically sharp, and it should be free from 
stains, scratches, pinholes or other defects. It should 
have had normal exposure, be fully developed, prop¬ 
erly fixed, carefully washed and thoroughly dried. 
The better the quality of the negative, the better the 
enlargement will be. (See Chapter XIV, defects in 
Negatives). 

Very thin and contrasty negatives are hard to handle, 
and seldom can we produce a satisfactory enlargement 
from them, as usually we get more contrast in the en¬ 
largement than in the contact print. 

Enlargements should not be attempted with stained 
or fogged negatives, except under circumstances which 
cannot be avoided. Pin holes should be spotted out and 
the negative should be clean and free from particles 
of dust. As the image is enlarged, so are the imperfec¬ 
tions. Spots, hardly visible on the negative, show up 
remarkably clearly on the enlarged print. Faulty 
focusing, hardly noticed in the contact print manifests 
itself in the enlargement, and what we hoped would be 
a masterpiece, turns out to be a “dud.”. But even 
these duds have their uses. From them we learn to 
make better negatives, to be careful in focusing; to 
hold the camera level while making the exposure; to 
secure depth of focus, by stopping down the diaphragm, 
instead of working at unnecessarily high shutter speed. 
We also learn to be clean, careful and conscientious in 
the process of developing, fixing and washing. 

Remember this: A few moments’ thought before 
the exposure is made may save a lot of disappointment 
later. Plan, when possible, to make your negative with 
the enlargement in mind. This will greatly simplify 


— 25 — 


Amateur Enlarging 


your problem. In fact, if the negative is properly 
made, there will be no problem. 

Having chosen your negative for enlarging, decide 
whether it is to be projected in its entirety or only a 
portion of it. Cut a mask out of a piece of black paper, 
so that only the desired portion will be exposed. Now 
place the negative between two pieces of clean, clear 
glass in the negative holder and insert in the enlarger, 
care being taken that the negative is upside-down and 
that the emulsion, or dull side, is toward the lens. 










CHAPTER VI. 

MAKING TEST EXPOSURES 

Now open your package of paper and cut off a strip, 
two or three inches wide. Place this piece of enlarging 
paper, face up on the bench, in the position which will 
be occupied by the developing tray. Cover half the 
paper with a card or book and leave for a few min¬ 
utes; then develop. If there is any difference in the 
appearance in the paper, where it has been covered or 
uncovered, it indicates that the light is not safe, and 
no paper should be taken from the wrapper until this 
condition has been corrected. 

Having made sure that the dark-room light is safe, 
open again your package of paper, select a sheet and 
cut this into three strips for tests. Place a piece of 
plain white paper on the easel and focus the image at 
the desired size. Make sure that the image is as criti¬ 
cally sharp as is possible. Switch off the light in the 
enlarger, remove the plain white paper from the easel 
and substitute therefor one of the test strips, placing 
it in such a manner that some part of the highest 
light and some part of the deepest shadow will reach 
it. Now cover with a card so that only one-third of the 
paper will be exposed. The exposure time will depend 
upon several factors: the intensity of the light; the 
density of the negative; size of the stop used; speed of 
the paper and size of the enlargement. But to select a 
point to start from, we will assume that the correct 
exposure time is estimated at about ten seconds. Cover 
two-thirds of the paper and allow one-third to be ex¬ 
posed to the action of the light for five seconds. Then 
move the card so as to expose the second portion for 
five seconds. Then remove the card altogether and 
expose for five seconds. We now have a piece of paper, 
parts of which have been exposed for five, ten and 
fifteen seconds. 


- 27 - 


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«pBi**j*a3T xn «£*»el zd* hr '. M a te r japer m the vhjvrz r tt#> 
tn»L*NUiii^£ il ; tisaaca xi* <ml tee eaaeL It nnHt. *c 
wi: , 'tt t . ia r*am^ b*tere xuucjii r iSut ^xpaaMre, 

znrrELOFaG 

BuM xii*: ^wrar in tee rjaht InaateL w$. NW, ^>1 

x WLflpv jmiiuim. Xl^ IZUZi*?' ~.0*: 4&rr*rto'Z#7. 

ra*-t xd* tx' lAxuz w**" ti$ut mrfjt&e 4 ? - ■+ ;zr *•$ 
Ante mmt flat it ii tmmjkidkj wdbmex&A jmI t# Weak 
19 , jwf jar flMflCwflwfli wt&j tow fmwit 8 idk tike 
tear • te«r tew tetef teftepw^ ate vatek tibe 
teM apu jUter tea papcar la mMate ia tea 
aatepar ter tea Ml teaa rmimactete l^r tea wuam&a*,' 

*w t#F 1% atmn^ la^a. ?*muvr<*r f dtam h»r h//MJaar 

Ip waa aan a ri ter a tear aaaaatey atel ter a a^ 
an rxie iitsn idte® tea 5 7 ^, irh^ 


—a— 










Amateur Enlarging 


the print should be kept in motion for a few moments 
to insure even action of the hypo on the print. Large 
prints are liable to give trouble, and it is advised that 
rather small enlargements be made until some manual 
dexterity has been acquired. We have purposely gone 
through the chapter on printing and developing rather 
quickly, so as to show you the simplicity of the pro¬ 
cess. But there are certain refinements to be consid¬ 
ered before we can expect to turn out really good 
pictures. 


ENLARGING TABLES 
All Figures in Inches 


Focal 
length of 
lens used 

Same 

Size 

2 

Times 

3 

Times 

4 

Times 

5 

Times 

6 

Times 

7 

Times 

8 

Times 

3 " 

6" 

9" 

12" 

15" 

18" 

21" 

24" 

27" 


6" 

41/2" 

4" 

33 / 4 " 

33 /," 

31/2" 

3»/t" 

33/s" 

4" 

8" 

12" 

16" 

20" 

24" 

28" 

32" 

36" 


8" 

6" 

5 Va" 

5 " 

4 4 / s" 

4 */ 3 " 

4 <A" 

41/2" 

5" 

10" 

15" 

20" 

25" 

30" 

35" 

40" 

45" 


10 " 

7V2" 

6*/»" 

61/4" 

6" 

5s/ 6 " 

53/7" 

5 V*" 

6" 

12" 

18" 

24" 

30" 

36" 

42" 

48" 

54" 


12 " 

9 " 

8 " 

7V2" 

7 i/." 

7 " 

6Vt" 

63/4" 

7" 

14" 

21" 

28" 

35" 

42" 

49" 

56" 

63" 


14 " 

IO 1 / 2 " 

91/3" 

83/4" 

8 ’/*" 

8 i/e" 

8 " 

7 7 /s" 

8" 

16" 

24" 

32" 

40" 

48" 

56" 

64" 

72" 


16 " 

12 " 

lOVa" 

10 " 

93 // 

91/3" 

91/7" 

9 " 


Upper figures in each division represent the distance from 
lens to easel. 

Lower figures in each division represent distance from lens 
to negative. 


— 29 — 





















Amateur Enlarging 


/ 



30 






CHAPTER VII. 

ENLARGING PAPERS. 

For the benefit of those few who do not know, let me 
say that there are two general classes of photographic 
papers; the chlorides and the bromides. The so-called 
chloride papers are usually used for contact printing 
and the bromides for enlarging. There are other papers 
in use by the profession, but for our purpose, the above 
definition will do very well. 

Bromide papers are very much faster than the others 
and for this reason they are recommended to ama¬ 
teurs for enlarging. Later, as you gain experience, 
you may be able to find use for some of the slower 
papers for certain reasons. 

The great variety of photographic papers upon the 
market and sold by American and foreign manufactur¬ 
ers makes it confusing and difficult for the novice to 
select any one without advice from someone having 
more experience. 

All of these papers have their merits, all are reliable. 
They may be bought in almost any size and in weights 
ranging from the very thin tissue-like paper to the 
heavy double-weight and in white as well as buffi, and 
cream tints. The surfaces range from the highly glazed 
“Glossy” to the very rough, almost canvas-like sur¬ 
face. These come in a number of different degrees of 
contrast, making it possible for the experienced worker 
to select a paper having the proper weight, color and 
degree of contrast suitable to each negative. 

Speed in bromide papers varies with the different 
brands and each is suited to some specific purpose. 
Much of the beauty of an enlargement is due to the 
selection of an appropriate paper; one which will fit 
>the negative from which the enlargement is to be 
made. 

GLOSSY PAPERS are especially suitable where pic¬ 
tures are desired that are rich in detail and where con- 


— 31 — 


Amateur Enlarging 


trasty effects are desired. MATTE PAPERS have a 
tendency to soften the contrast, thereby considerably 
enhancing the plastic or stereoscopic effect of the fin¬ 
ished print. SEMI-MATTE or SMOOTH surface 
papers are used for smaller prints and where richness 
in detail is desired without extreme gloss or sheen. 
ROUGH PAPERS are best suited for large portraits 
and landscapes; also where sketchy and artistic ef¬ 
fects are desired. 

In considering the paper of a single manufacturer, 
it will be found generally that the slower speeds are 
more contrasty. This does not apply to the so-called 
portrait papers, nearly all of which give soft prints of 
beautiful gradation. 

If it should happen that there is a chemical defect 
in your first enlargement, do not immediately jump to 
the conclusion that it must be the fault of the paper. 
All the well-known manufacturers turn out reliable 
products, and the chances are a thousand to one that 
you are at fault. Read the chapter on “ Defects in 
Prints,” and you will find that in nearly every case 
you have forgotten or slighted some detail in the 
handling, storing, developing or fixing of the paper. 
Correct the mistake, when located, and go ahead again. 

Unless you have had some previous experience with 
certain brands of paper, I would suggest the following 
as the most practical course to pursue : 

From your negatives, select those which have been 
normally exposed and developed and which are free 
from pin holes and scratches. From these, pick out the 
negatives which are critically sharp, and from these in 
turn, make a selection of a few which have Some in¬ 
terest or pictorial quality that you like. From the 
selected few negatives, make a print from each on 
“proof” paper. As you may not have heard of this 
before, I may say that this is a “printing out paper”: 
that is, the image becomes visible after exposure to 
light and does not require development to bring it out. 


— 32 — 



Amateur Enlarging 


It is called sometimes Solio paper and is printed in 
daylight. Place the paper in contact with the emulsion 
or dull side of the negative in the printing-frame. 
Expose to daylight. Release half of the back of the 
frame once in a while so as to observe the printing. 
When the print appears to have reached proper dens¬ 
ity, remove from the frame and repeat with the other 
negatives until all have been printed. These prints 
will not be permanent without toning; but as w & 
need them only for this trial, we will not have to 
bother further. 

Now examine each print carefully, with a view to 
trimming off anything in the print which you think 
should not be part of the picture. This leaves only 
the essentials of youf* composition, and will help you 
to decide on how to mask the negative when enlarging 
from it. In printing with Solio or proof paper, it is 
possible to dodge or hold back the thinner portions by 
shading, so that the denser parts can print. This will 
give you an idea of how your enlargement may be 
controlled while printing. While the foregoing is not 
absolutely necessary, you will find that it is a very ma¬ 
terial aid in making good enlargements from the start. 
You may later discard it if you outgrow it. Personally, 
I have not yet outgrown the habit. 

From these prints you must decide upon the size of 
the enlargement for each, and from the character of the 
subjects, decide upon the surface and color; whether 
rough, smooth, matte or glossy and whether white, 
buff or cream. 

If we can only allow ourselves one dozen sheets of 
paper to begin with, let us select the semi-matte, 
single weight, of any of the standard brands of bro¬ 
mide paper. This surface will be suitable for most 
subjects. Don’t begin with enlargements as large as 
theatre posters; enlarging paper can be expensive. I 
think that 5x7 or 8x10 will be large enough. The size 


— 33 — 



Amateur Enlarging 


of the print has nothing to do with the beauty of the 
picture. 

When you go to your supply store to buy your paper, 
ask to be shown sample prints on the various grades 
and surfaces carried in stock. They will be glad to 
show you these samples and to help you select a par¬ 
ticular kind. Don’t keep changing about. Stick to one 
brand of paper until you have learned to handle it 
well and to get results; then you may try another 
brand and so on until you find the brand which you 
like best. Cultivate the man behind the counter in 
your supply store. He can, and will help you in a 
great many ways. He is anxious for you to succeed. 



— 34 — 





CHAPTER VIII. 
CONTROL IN PRINTING. 


In making an enlargement, we should bend every 
effort to turn out the perfect print. Often we will find 
that we can mask out distracting features, especially if 
these are near the edges of the negative. It is not 
always possible to make negatives which are so har¬ 
moniously balanced as to require no control, indeed, it 
might not be desirable. But often the enlargement can 
be improved by controlling the exposure, allowing 
more or less time on different parts of the enlarge¬ 
ment, so that the shadow detail may be preserved and 
the high-lights, sky, clouds* etc., given time to build 
up. This may be effected by means of a “dodging” 
device, which may be made of a strip of clear glass, 
about twelve inches long and about an inch wide. A 
piece of black paper, about the size of a quarter, may 
be stuck on one end of the glass. With this, held be¬ 
tween the lens and the paper, and kept constantly in 
motion, hold back the light coming through the nega¬ 
tive as desired. Dodging should be done closer to the 
lens than to the paper. If a piece of glass cannot be had 
conveniently, a stiff, thin wire will do equally well, by 
bending one end into a clip to hold a small piece of 
black paper. The size of the piece of paper must be 
determined by the size of the area on the print its 
shadow will be required to cover or dodge. When it 
is desired to hold back the fore-ground, as in the case 
of landscapes or seascapes, a piece of card, torn ir¬ 
regularly to roughly conform to the shape of the sky¬ 
line or horizon, may be interposed between the lens and 
the paper. After the foreground has been exposed for 
the required time, the card should be held so as to 
prevent further light reaching it, while the sky por¬ 
tion is allowed to print for a longer period. The card 
should be kept moving and at some distance from the 
paper, so that the light reaching the print, over the 


— 35 — 


Amateur Enlarging 


edge of the card, will be properly diffused. When 
masking the negative, try to keep the horizon line 
either above or below the exact center of the print, also 
try to keep the principal point of interest away from 
the dead center. 

It is not my purpose to try to write a treatise on 
the art of Pictorial Composition, but I am anxious to 
help you to make your first few efforts pleasing and 
encouraging. 

SOFT FOCUS EFFECTS 

While many photographs in small sizes may be 
pleasing, though critically sharp—and while critical 
definition is desirable in the negative—in the enlarge¬ 
ment, certain subjects present a more pleasing appear¬ 
ance if somewhat diffused. When we look at a tree, 
we do not see each individual leaf; and in looking at a 
person we do not notice individual hairs; so when we 
show these things critically sharp on our prints, they 
help to destroy the general effect of the picture. The 
amount of diffusion is largely a matter of personal 
preference, and also it depends upon the character of 
the subject and the size of the picture. The larger the 
picture, usually, the greater the degree of diffusion 
permissible. 

Diffused effects may be secured by means of Dif¬ 
fusion Disks, which come in cells and may be slipped 
over the lens while the exposure is being made. They 
give a soft effect to the enlargement, which is pleasing 
to many. Perhaps a better way to get the artistic 
effect through diffusion is to buy two ordinary em¬ 
broidery hoops about six or eight inches in diameter 
(you can get these at the 5 and 10 cent stores) and 
between these stretch a piece of black, rather coarse 
mesh gauze. This, held between the lens and paper 
during the exposure, for the whole or part of the ex¬ 
posure time will produce any degree of diffusion you 
desire. Silk chiffon may be used instead of the gauze 


— 36 — 



Amateur Enlarging 



if preferred. This will make the exposure time a trifle 
longer, but if you favor pictorial and artistic effects 
in your enlargements, its use is indicated and your 
own experiences and judgment will be your guide. 

We will sometimes find that a certain small area of 
the print will require more exposure than the remain¬ 
der. In this case, take a piece of card-board of proper 
size, so that the whole print will be covered, and cut 
in it a hole of appropriate size and shape. Hold this 
card between the lens and paper, permitting the light 
to pass through the hole onto the proper point on the 
print for the required time. As in using diffusers, the 
card should be kept in motion, up and down, during 
the whole of the time. 


— 37 — 




Amateur Enlarging 



38 








CHAPTER IX. 

SOME NOTES ON DEVELOPERS, ETC. 

All manufacturers of sensitized materials maintain a 
staff of competent chemists and experimenters to for¬ 
mulate developers for their particular emulsions, 
whether plates, film or papers. A great deal of time, 
labor and money is spent by these manufacturers, to 
find the best way to handle their products. Therefore, 
we may accept the formula given by the manufacturer 
as being the best possible. Of course, we know that 
many professional photographers, who may be using 
a great many different brands of paper in their work, 
standardize a developer which will be suitable for a 
variety of different brands; but we must remember, 
that the professional’s volume of business makes this 
necessary, and his wide professional experience enables 
him to take liberties. We are not urged by this neces¬ 
sity nor have we the wide experience. So we will do 
well to stick to the formulas which have been devised 
by experts for our convenience. 

Development is the chemical action which is neces¬ 
sary to change silver salts which have been acted upon 
by light, from the salts to metallic silver. To do this, 
four agents are necessary, the Active Agent, or re¬ 
ducer, such as, Metol (Elon or Metol), Hydroquinone, 
etc.; the ACCELERATOR; Sodium Carbonate; the 
PRESERVATIVE; Sodium Sulphite and the RE¬ 
STRAINER; Potassium Bromide. A few minutes de¬ 
voted to the study of the action of these chemicals will 
be well spent. 

The active agents reduce the silver salts which have 
been acted upon by light to metallic silver. The ac¬ 
celerator is added so as to stimulate the action of the 
reducer. These together would rapidly oxidize and 
spoil unless we first add the preservative (Sodium Sul¬ 
phite). The restrainer (Potassium Bromide) is added 
to hold back the action of the developer on the silver 


— 39 — 


Amateur Enlarging 


salts which have not been acted upon by light, and to 
keep the highlights and whites clear. 

As you become more familiar with the development 
of photographic papers, you will find that the Metol- 
Hydroquinone or M-Q developer is always reliable. The 
reason is this: Metol is a very fast working developer 
and gives soft black tones; but alone, it works much 
too fast. It is usually used with Hydroquinone, which 
is a slow-working developer, giving contrast, density 
and rather reddish tones. The combination makes a 
nicely balanced developer, of fair speed and good tones. 

The use of the Acid Short Stop should be used be¬ 
tween the process of developing and of fixing, especial¬ 
ly when there are a large number of prints to be made. 
The Acid Short Stop stops the action of the developer 
immediately and prevents the Hypo from being neu¬ 
tralized by having developer carried over into it with 
the print. It also prevents stains and insures that the 
Hypo will act evenly on the entire print while in the 
Fixing Bath. 

The Acid Fixing Bath is composed of water and 
Hyposulphite of Soda to which is added the Hardener. 
The latter is a solution of water, Sulphite of Soda, 
Acetic Acid and Alum. Its purpose is to harden and 
toughen the gelatine film and prevent any tendency 
for staining. The importance of the Fixing Bath must 
not be under-rated. To insure permanency, prints must 
be left in the Hypo for about thirty minutes, and the 
temperature of the bath should be kept at about 60 
degrees F. The Fixing Bath should be fresh. When 
it becomes frothy and feels “soapy 0 rubbed between 
the fingers, it should be discarded. As in the case of 
developers, the Hypo must be mixed according to 
formula. A freshly made acid fixing bath will bleach 
the prints if they be left in it too long. Advantage 
may be taken of this fact by longer fixing to reduce 
a slightly dark print to a more pleasing quality. 

For permanent prints, only a certain number can be 


— 40 — 



Amateur Enlarging 


fixed in a given quantity, then the bath should be dis¬ 
carded. Furthermore, in plain Hypo the prints have 
a tendency to blister; this tendency is overcome by the 
acid bath. 

WASHING. Prints should be washed in running 
water for an hour at least. In washing prints in a 
sink or bath tub, care should be taken to prevent water 
falling upon the prints directly from the faucet. A 
pitcher or a graduate may be placed under the tap, 
the overflow from this into the sink will do no damage. 
Prints should be moved about frequently during wash¬ 
ing. Do not allow prints to remain in the water over 
night. Prolonged washing is harmful. 

DRYING PRINTS. Prints coming out of the wash 
should be drained, then blotted off and laid, face down 
on blotters or cheese-cloth or towels and left until 
practically dry. The backs should then be slightly 
dampened and they should be placed between blotters 
(separately) and under weights until bone dry. Lint¬ 
less Photo blotters should be used. Ordinary blotting 
paper will not do, as it often contains hypo and other 
impurities. If an acid hardener is used, the prints will 
not stick to the blotters. 



—41 — 








Amateur Enlarging 



42 













CHAPTER X. 

SEPIA TONES 

Sepia tones in bromide enlargements are often very 
pleasing, especially certain landscape compositions, and 
are preferred by many to the black and white prints. 

Prints intended for sepia tone by re-development, 
should be rather fully exposed, fully developed and 
thoroughly washed. 

There are two distinct methods of getting sepia tones. 
The first is by the Hypo-Alum toning bath, which 
must be used very warm and takes upward of half an 
hour to tone; and if used cold may take 24 hours. The 
second is by the Sulphide re-developing method, by 
which sepia tones may be got in a few minutes. 

Both methods have their good points, but for the 
purpose of this little book, the Sulphide re-developing 
method will offer less difficulty. 

After prints are thoroughly fixed and washed, they 
should be bleached in the following bath until the 
black image is changed to one of yellow. 


Ammonium Bromide.100 grs. 

Potassium Ferricyanide...300 grs. 

Water.20 ozs. 

after which, they are rinsed for about one minute in 
water and re-developed or toned in the sulphide bath, 
made up as follows: 

Sodium Sulphide (not Sulphite).4 ozs. 

Water.20 ozs. 


From this, make up as required, the working bath, con¬ 
sisting of: 

3 ounces of the 20-oz. Sulphide solution above re¬ 
ferred to and 20 ozs. water. The prints are placed in 
this sulphide bath, where they should darken to a full 
brown or sepia in a very short time, after which, they 
are washed in running water for about half an hour. 
The prints will be permanent, provided that the solu- 


— 43 — 







Amateur Enlarging 


tions are correctly compounded and that the above 
simple instructions are carefully followed. This sul¬ 
phide bath should be discarded when used, as it will 
not keep. 

NOTE: Sepia toning should never be done in the 
same room where there is photographic paper or other 
sensitized material, as the sulphide fumes will ruin any 
paper by attacking the emulsion, even though the 
paper, plates or film are stored in heavy cardboard 
boxes. 

Further modification of the tone or color of the en¬ 
largement is made possible by the use of toners. These 
toners may be purchased from your dealer in tablet 
form. They dissolve readily and are very economical. 
They may be had in blue, green, brown, sepia, red, 
yellow and salmon. These toners are not at all dif¬ 
ficult to handle and the use of them will give your 
pictures a pleasing variety. Blue for seascapes and 
moonlight effects; green for landscapes; red for fire¬ 
light; yellow for sunsets, etc. 



4 + 








CHAPTER XI. 

EXTRA LARGE PRINTS 

Occasionally an extra large enlargement may be re¬ 
quired ; one which cannot be handled in the developing 
trays available. In this case, the following method 
will be found effective. 

After the exposure has been made, thoroughly satur¬ 
ate the print in clear water in the family dishpan or 
bath tub. Then place it, face up, on the table, which 
should be covered with oil-cloth. Then with a large 
wad of cotton, saturate with developer, go quickly over 
the print from top to bottom and from side to side, 
continuously until development is complete; after 
which, go over the print quickly with another wad of 
cotton, saturated with the acid short-stop; then to the 
Hypo. 

The Hypo for fixing may be used in the bath tub, 
and as it will require at least a gallon, it would be 
well to wait until there are a number of the larger 
prints to be made and make them all in the same even¬ 
ing, when this method is used. 

Large trays may be improvised by making shallow 
boxes of thin boards, lined with oil-cloth. The oil¬ 
cloth should be glued to the bottom of the tray, and the 
oil-cloth should be cut to fit into the corners snugly. 
The corner seams should then be sealed with paraffin 

wax, which is indifferent to most chemical reagents. 
The wax should be heated and poured into the seams 
where the oil-cloth joins in the corners of the tray. 

The Hypo tray should be somewhat larger and deep¬ 
er than the other trays and they should be marked, so 
that there would be no chance for the hypo tray being 
used for developer. After use, they should be thorough¬ 
ly cleaned. It is realized that this is only a make¬ 
shift, but we cannot all afford to buy trays of huge 
size for only occasional use; and this is the next best 

way. • 


— 45 — 


Amateur Enlarging 










CHAPTER XII. 

SPOTTING 

When the prints are thoroughly dry, they should be 
straightened out. A good way to do this is to lay the 
print, face down, on the table. JHold an ordinary 
office ruler in the left hand, with the edge against the 
back of the print, and with the right hand, draw the 
print under the ruler, from different directions in 
turn, until the tendency to curl is overcome. 

When the print is flat, it should be examined care¬ 
fully and all defects spotted out. If you have read 
carefully, the chapter dealing with selecting the nega¬ 
tive, the only spots on the print will be white. This 
can be touched up with a pencil or with spotting color. 

A fine camel-hair brush should be used. The brush 
should be slightly dampened and a very small amount 
of the color taken up. In taking up the color, the 
brush should be turned in the fingers, so that it is 
drawn to a fine point. The brush should be almost 
dry when applied to the spot, and each spot should be 
gone over several times if necessary, until the spot is 
the exact tone of the surrounding area of the print. 

Spotting colors may be had at the supply stores in 
convenient form, and twenty-five cents worth will last 
the average amateur a life time. Spotting with a pen¬ 
cil by an expert may be all right* but a novice will be 
likely to ruin a print with a pencil, as the spots where 
the lead was left will shine and will show almost as 
bad as the original spot. If a pencil must be used, the 
print should afterwards be held over steam from a 
tea kettle for a moment, to allow the gelatin to soften 
and so hide the pencil marks. If you must do this, you 
should first try a few times with a spoiled print, until 
you have found just how long the prints must be ex¬ 
posed to the steam. Quite recently a charcoal pencil 
has been invented. This is known as the “Wolff Posi¬ 
tive Pencil.’’ Spotting with this pencil will be in¬ 
visible, and its use will make spotting a simple matter. 
Ask to see this at your supply store. 


— 47 — 


Amateur Enlarging 


jT' 





/ 


























CHAPTER XIII. 

MOUNTING 

Previous to mounting on light cardboard or heavy 
paper, the print should be well straightened and edges 
trimmed exactly square. Lay the same on the mount, 
centering it, as to given even margins at top and sides 
with more space at bottom. When in the right position 
make pencil dots on the mount at the two top corners 
of the print. 

Remove print and lay face down on a sheet of 
waste paper, then brush a narrow border of paste 
around the four edges. Lift a corner with a knife, 
pick up with the fingers, turn it over so the top of the 
print will be from you, keeping the finger tips inside 
the paste border. 

Lay the top corners of print at the dots on the mount, 
rub the top edge in contact with the finger, drop the 
print into place, rub into contact with a clean cloth 
and place under weight large enough to cover the 
print until dry. 

Mounting prints and enlargements is largely a 
matter of individual preference. It depends upon the 
size of the print, the character of the subject, color, and 
whether or not it is to be framed. Mounts may be 
purchased ready made or they may be made up to suit 
the individual taste of the worker. Mounting papers 
and cards of various colors, tones and weights may be 
seen at the supply stores and your dealer will be glad 
to show you samples and advise you on what is best 
for the particular pictures you wish to mount. 

A very good way to finish enlargements, and one 
which is employed by many of the best workers in the 
country, is the following: 

Project your enlargement on a piece of paper some¬ 
what larger than normally required, say, make a 5x7 
enlargement on a 10x12 sheet of enlarging paper. The 
top corners of the projected image should be two 


— 49 — 


Amateur Enlarging 


inches from the top and about two and one half inches 
from the sides of the paper. 

For example, take a 4x6 enlargement on 8x10 bro¬ 
mide paper as an illustration, out of fairly heavy card¬ 
board cut a piece 4x6 exactly. Using either light or 
heavy cardboard cut a sheet 8x10 exactly. On this 
center the 4x6 card, giving margins of two inches on 
the sides and one and one half inches at the top. Hold¬ 
ing the 4x6 card from shifting, with a sharp pencil 
draw an outline of the 4x6 on the 8x10 card. With a 
waste piece of cardboard under the 8x10, cut along the 
pencil lines with a sharp knife and straight edge of a 
ruler, thus getting a 4x6 opening in the large card. 

Project the negative on the easel, placing a sheet of 
white paper behind the 4x6 opening, shift the 8x10 
mask around until you take in the desired portion of 
the picture. Hold the mask in the correct position and 
push two thumb tacks into the easel along the top edge 
of the mask and two at side, also mark top of mask. 
Cover the enlarging light and slip in an 8x10 sheet 
of bromide paper, cornering against the thumb tacks 
and then slip mask over the bromide paper, top side 
up in the same manner. Expose the required time as 
previously shown by trial slips. 

After the print is made and dried, it should be 
flattened and then, with a drawing pen and india ink, 
draw a fine outline around the print. The lines should 
be about one half inch from the top and sides and 
three quarters of an inch from the bottom edge of the 
print. After the ink has dried, trim the edges of the 
print so that they will be one and one half inches from 
the line at the top and sides and about two inches from 
the line at the bottom. 

A fine die-sunk effect may be secured by cutting a 
piece of thin, stiff card, about the size of the rectangle 
inclosed within the inked lines mentioned above, and 
placing this card in the same relative position over the 
print. Then turn the print and the card face down on 


— 50 — 



A m ateur Enlarging 


the table, or on a sheet of glass, and with the rounded 
end of a stirring-rod, tooth-brush handle, or similar 
tool, run around the edges of the card. If the back of 
the print is first slightly dampened with wood alcohol 
and water in equal parts, the emulsion will not crack 
and a rather neat looking print will result. Care must 
be taken, of course, to get the card in the proper 
position and to keep it from slipping during the process. 
A flat iron or other convenient weight should be placed 
on the back of the mount to hold it in position while 
the tool is being run around the card. 

Plate sinking should be done only when double 
weight paper is used and a little practice with old 
paper or discarded prints will enable you to do it very 
neatly. 



— 51 — 







CHAPTER XIV. 

DEFECTS IN NEGATIVES 

As stated elsewhere in this book, in . order to make 
the best enlargement, we should select our choicest 
negative. In order that we may be able to recognize 
defects and correct them, we should be able to analyze 
our negatives. I am mentioning here, a few of the 
commonest causes for poor negatives, suggesting the 
simplest means of avoiding defects in later efforts and 
of correcting defects already existing, where possible. 

FOG. Causes: Over exposure; unsafe dark-room 
light; developer too warm; too much alkali (carbonate 
of soda) in developer. In using film-packs, be sure to 
shield the slit in the adapter from the light while tear¬ 
ing off the paper, after each exposure. Light leaking 
in through this slit, often causes a diagonal streak of 
fog across the film. 

THIN, WEAK NEGATIVES. Causes: Under ex¬ 
posure; developer too cold or too weak; not enough 
carbonate in developer; lighting too flat. 

FRILLING. Film softens in developer or wash water. 
Causes; solutions too warm; prolonged washing. Keep 
all solutions at the normal temperature; use an acid 
fixing bath and do not leave negatives in wash water 
longer than necessary to free them from Hypo. 

MOTTLED APPEARANCE: Due to prolonged de¬ 
velopment or too warm solutions or to not rocking the 
tray during development. 

BLISTERS: Fixing bath too strong; too great dif¬ 
ference in temperature of solutions; failing to rinse 
negatives between developer and hypo bath. 

STAINS AND SPOTS: Edges of negatives stained 
yellow usually indicates that the process of fixing was 
not complete, that they were not thoroughly washed, 
or that the bath was too weak to dissolve all the silver. 

Irregular Transparent Spots: Due to particles of 
dust on film before exposure. See that the inside of 


— 52 — 


Amateur Enlarging 


the camera is wiped out occasionally and that the 
holders are free from dust before loading. 

Round Transparent Spots: Due to air bells or 
bubbles which attach themselves to the film in the de¬ 
veloper and prevent action of the developer on the 
spots covered by them. If negatives are developed in 
a tray, pass the hand over the face of the negative as 
soon as it is submerged in the developer, to break up 
the air bells. If using a tank, lower the rack into the 
tank slowly, then raise and lower it two or three times 
in the solution. This will break up the air bells which 
may form on the surface of the developer and which 
might otherwise attach themselves to the film. 

Brown or purple spots: Sometimes caused by dry 
pyro floating in the air and settling on the negative 
and by chemical impurities in the wash water. These 
can be avoided by care in handling pyro and by filter¬ 
ing the water. 

Cloudy appearance and semi-transparent streaks: 
Usually the result of not using sufficient developer or 
failing to flow the developer quickly over the negative 
or not keeping the tray in motion for the first few 
seconds after placing negative in the tray. Small, 
sharply defined opaque spots occur when water from 
the faucet splatters on to the negative before develop¬ 
ment or after development when the negative is partial¬ 
ly dried. This has the same effect as uneven drying. 

Unsharp image on negative is the result of faulty 
focusing. When focusing is done by scale, care must 
be taken that scale is set to the proper distance. If 
you cannot learn to estimate the distance, then you 
should measure it. Stop guessing. When using reflect¬ 
ing type cameras, and the image appears to be unsharp, 
it usually means that the eyesight of the operator is 
poor or that he is careless. In the former case there is 
hope. Always focus with the lens at the widest aper¬ 
ture; then stop down the diaphragm as needed. Stop¬ 
ping down will increase the depth of focus and take 


— 53 — 



Amateur Enlarging 


care of slight inaccuracies in focusing; but only if the 
focusing is done with the lens wide open. 

Before leaving the subject of negatives, I would ask 
you to study the following little chart on light condi¬ 
tions and stops to use. I think it will help you to make 
better negatives. 

U. S. 16 U. S. 8 U. & 4 



F. 16 

F. 11 

F. 8 

F. 6.3 

Bright Sun.. 

.1/25 

1/50 

1/100 

1/150 

Faint Sun. 

.1/10 

1/25 

1/50 

1/75 

Bright Cloudy. 

.1/5 

1/10 

1/25 

1/40 

Dull Cloudy. 

-.1/2 

1/5 

1/10 

1/20 

Very Dull. 

. 1 . 

1/2 

1/5 

1/10 


The bold face figures represent the stop and the time 
and 1/25 of a second is selected, because it has been 
proven that it is the slowest time permissible with a 
hand held camera. This is intended for exposures 
made in the open. When exposures are made in the 
shade, set diaphragm aperture at next largest stop. The 
same applies when photographing dark objects close to 
the camera. 



— 54 — 














CHAPTER XV. 

DEFECTS IN ENLARGEMENTS 

When you buy a package of enlarging paper, there 
is enclosed in the envelope with the paper, a list of 
instructions for the development, fixation, etc. The 
correct developing formula is given and you are cau¬ 
tioned about the temperature of solutions and generally 
you are told the proper developing time for a normally 
developed print. When the print does not turn out 
well, it is usually because we have slighted some part 
of the process of printing, developing, rinsing, fixing, 
washing or drying. If we can trace the cause of the 
defect, we can remedy it. Here are a few of the most 
common causes for poor prints: 

Mottled prints: Due to over-exposure or insufficient 
developing. 

Greenish tones: Due to over-exposure or too much 
bromide in developer. 

White Spots: Air bells or bubbles. Avoid this an¬ 
noyance by breaking up air bells by passing flat of the 
hand or a wad of cotton over the print in the developer 
as soon as it is submerged. 

Blisters : Due to wide difference in temperature of 
solutions or to water from a faucet splashing directly 
onto the prints while washing. Sometimes it is the 
result of too much acetic acid in the fixing bath. 

Fog: May be due to unsafe dark-room light; to 
under-exposure and over-development; not enough 
bromide or too much carbonate in the developer or too 
old paper. 

Frilling: Generally occurs if the solutions are too 
warm; sometimes through careless handling in the 
wash water. 

Scum on prints is usually the result of dirty wash 
water or lack of acid in fixing bath. Prints should be 
sponged off with clear clean water before drying. 


— 55 — 


Amateur Enlarging 


Blurred image on enlargement made from a sharp 
negative, indicates improper focusing or that the 
camera or easel was jarred during the exposure. 

Spots: Dark spots on prints are sometimes due to 
the presence of iron in the water. Circular dark spots 
are due to air bells on the print in the fixing bath. The 
bubble prevents the action of the hypo and develop¬ 
ment continues in the areas covered by the air bells. 
Patches of irregular size and shape are caused by 
greasy finger prints on the paper preventing proper 
action of the developer, on those parts. 

Patches will occur, too, in cases of over-exposure; 
then the print has to be snatched out of the developer 
before it has been properly developed. 

Streaky prints are the result of not flowing the de¬ 
veloper so as to completely cover the print during the 
first few seconds and may be caused by not using an 
acid short-stop between developing and fixing bath. 

Small irregular white spots will result from dust 
particles on the negative. The negative should be 
dusted off and the lens dusted with a very soft camel’s 
hair brush. 

Brown stains will some times appear if prints are not 
kept moving and separated during fixing and washing, 
but this condition usually indicates that the fixing batli 
has not been properly compounded. 

A reddish tinge will be noticeable with some enlarg¬ 
ing papers, if prints are allowed to remain in the fixing 
bath too long or if the bath is too warm; while purple 
stains may be the result of removing the prints from 
hypo too soon. 

Yellow stains are the common experience of the be¬ 
ginner. They are the result of taking the print out 
of the developer for examination before being fixed. 
This condition is due to oxidation. Fix the print first, 
then examine it. 


— 56 — 



Amateur Enlarging 


Remember : If the print has been properly exposed, 
the image will build up slowly, and after the half tones 
appear development will seem to pause. Watch out 
for this pausing point, for beyond it you run the risk 
of over-developing. 

Under-exposed prints develop up slowly and lack 
contrast; there is no detail in the shadows. Under¬ 
exposure and forced development will give weak, flat 
prints, cold tones and often fog. 



— 57 — 




CHAPTER XVI. 
MISCELLANEOUS NOTES 


Weights and measures 

10 grains equal % scruple 
20 grains equal 1 scruple 
40 grains equal 2 scruple 
60 grains equal 1 dram 
8 drams equal 1 ounce 
16 ounces equal 1 pound 

Fluid Measure 

1 drop equal 1 minim 
60 minims equal 1 dram 
8 drams equal 1 fluid ounce 
16 ounces equal 1 pint 
8 pints equal 1 gallon 

Coin Weights 

A dime equals about 40 grains 
A cent equals about 48 grains 
A nickle equals about 80 grains 
A quarter equals about 100 grains 
A half dollar equals about 200 grains 
A silver dollar equals about 400 grains 
A dollar and a dime weigh about 1 ounce. 

The above coin weights are very handy and are suf¬ 
ficiently accurate for weighing photographic clhemi- 
cals. A thin piece of aluminum may be cut to balance 
the weight of a dime (about 40 grains), this can then 
be cut in halves and one piece marked 1 scruple. The 
other half may be again cut in two and one piece 
marked ^ scruple. The other piece is then cut in two 
and each half marked 5 grains. A copy of this table 
pinned up near your chemicals may prove useful. 


— 58 — 


Amateur Enlarging 


10% Solutions 

Dissolve one ounce of the dry chemical in about 
eight ounces of water, and when dissolved, add water 
to make 10 ounces altogether. 

Saturated Solution 

Dissolve the chemical in hot water until it refuses 
to take up any more and leaves a deposit of undissolved 
crystals on the bottom of the container. 

Acetic Acid 

Glacial Acetic Acid comes usually in 1 pound bottles 
and should be 99%. 

For fixing bath formulas, it is called for at 28%. 

To reduce the glacial to the 28%, dilute 3 ounces of 
Glacial with 8 ounces of water. 

Acid Short-stop 

Water 32 ounces 

Acetic Acid, 28%, iy 2 ounces. 

Acid Hypo Fixing Bath 

Water 64 ounces 

Sodium Hyposulphite 16 ounces 

When the Hypo has been dissolved, mix separately 
and add the following hardening solution: 

Water 5 ounces 
Sodium Sulphite (dry) 1 ounce 
Acetic Acid, 28% 3 ounces 

Powdered Alum 1 ounce 

NOTE: The object of the fixing bath is to dissolve 
from the film, the silver which has not been acted up¬ 
on by light and the developer. If allowed to remain 
in the film, this silver will darken and stain the print. 
It will be seen, therefore, that in making an enlarg- 
ment, no process is more important than fixing. First 
of all the instructions for mixing the Hypo bath should 


— 59 — 



Amateur Enlarging 


be followed to the letter, the hardening solution being 
mixed separately and then added to the Hypo solu¬ 
tion. Hypo is inexpensive, and there is no excuse for 
using an exhausted fixing bath and spoiling otherwise 
good prints. Remember that the Hypo lowers the tem¬ 
perature of the water considerably, so the fixing bath 
should be made up some time before it is to be used. 
Where only a few prints are to be made, it would be 
best to buy Hypo in the prepared form as Acid Fixing 
Powder in 1-pound packages, or even in half-pound 
packages, as sold in all the photographic supply stores. 



— 60 — 




CHAPTER XVII 
GLOSSARY OF TERMS 

ACTINIC:—Applies to the light rays which most read¬ 
ily affect photographic emulsions by producing 
chemical change in the silver salts contained in 
the emulsions. 

ALKALI:—Opposite to acid. Carbonate of soda in the 
developer is usually referred to as the Alkali. 

BATH:—In this book Bath means any of the photo¬ 
graphic solutions used in photography; such as 
Fixing Bath; Toning Bath, etc. 

CONCENTRATED:—Applied to solutions mixed with 
the least amount of water practicable. 

CONTRASTY:—Said of prints, this means, that there 
is great difference between the light and the dark 
tones; harsh or over-contrast means that the high¬ 
lights are chalky and the shadows are too dark; 
there is an absence of gradation or balance. 

DENSITY:—Descriptive of negatives which appear 
very black and transmit but little light; take too 
long to print and are unsatisfactory for enlarging. 

DEVELOPER:—The agent which makes visible the 
latent image in the emulsion. The active agent or 
reducer, such as: Pyro, Hydroquinone, Metol, etc. 

DIFFUSION:—Applies to light rays which have been 
passed through ground-glass, opal glass, gauze 
or chiffon or otherwise interferred with so as to 
blur or soften the sharp outlines of the picture 
details. 

EXPOSURE:—Submitting plate, film or paper to the 
action of light in order to make a negative or 
print. 

FIXING BATH:—A solution of Hyposulphite of Soda 
(Hypo) used to dissolve that portion of the silver 
in the negative or print which has not been acted 
upon by light or by the developer. 


— 61 — 


Amateur Enlarging 


FEAT :—Tone too even. Lacking in contrast. 

GRADATION:—The gradual blending of one tint, 
shade or tone into another in print or negative. 
Balance. 

HIGHLIGHTS:—The points which receive the most 
light. The lightest parts of the print and the 
darkest parts of the negative. 

HYPO :—See Fixing Bath. 

LATITUDE:—As applied to film or paper means the 
permissible variation from the correct exposure 
and developing time. We are able to make print¬ 
able negatives with half or double the correct 
time, because of the “latitude” of the emulsion 
and we are able to save a print, even though we 
have over or under-exposed or developed it (with¬ 
in reason, of course) because of the “latitude” of 
the emulsion with which the paper is coated. 

OXIDATION : : —The action by which a developer ab¬ 
sorbs oxygen and becomes discolored. Such de¬ 
veloper will stain the print. 

PRINTING OUT PAPER (P. 0. P.) :—A paper coated 
with an emulsion which prints a visible image by 
daylight without development. The print is not 
permanent unless it is toned. 

SATURATED SOLUTION:—A fluid holding in solu¬ 
tion as much of the chemical substance as it can 
dissolve. 

SOFT:—Applied to negatives or prints which show 
nearly all the half tones; the transition between 
highlights and shadows not being abrupt, as in the 
case of “hard” prints or negatives. 

TONE:—The prevailing color of a print or negative. 
“Warm” tones are those which contain yellow, 
red or olive tints or hues. “Cold” tones tend to be 
bluish. 

WEAK:—Said of prints or negatives which are thin; 
without sparkle; lacking in contrast. 


— 62 — 
















Amateur Enlarging 


SOME FACTS ABOUT ENLARGING 

In making enlargements, the amateur is brought in 
contact with a different medium than that with which 
he was familiar when making gaslight prints. The 
general chemical composition of the emulsion is similar 
enough to put them in the same class, but there are in¬ 
herent differences which should be known. 

There are two sorts of enlarging paper, fast Chlo¬ 
rides and Bromides. The former are generally slower 
and give what is known as contact quality, that is 
snappier contrasts and more brilliant body tones and 
lights. The latter are faster, as a rule, and give softer 
prints. In each class it is possible to obtain two grades, 
hard and soft, or in other words more contrasty or less 
contrasty. 

Further modifications are possible by diluting the 
developer. More water tends to softness and gray in¬ 
stead of black shadows. 

It should be known, too, that enlarging increases 
the inherent contrast of the negative and that the 
weaker the light and the denser the negative the 
greater the contrast in the enlarged print. 

Negatives intended for enlarging should, therefore, 
be somewhat thinner than for contact printing. 

As the image is enlarged so are the defects. A 
small pinhole will show as a very large black blot and 
a slight scratch may print as a very annoying black or 
white line. 

To avoid enlarging a speck of dust to the size of a 
cobblestone, dust the negative with a soft camel-hair 
brush and the paper on which you are going to enlarge. 
Nowhere more than in the enlarging room does clean¬ 
liness count for more. 

Most gaslight paper developers will serve for 
bromide papers if diluted to half strength. 

If your paper fogs, that is turns gray all over, look 
to your safe-light, and, if that is all right, try a few 


— 64 — 



Amateur Enlarging 


more drops of bromide in the developer; that failing 
to remedy, cut down exposure if the print jumps up 
too soon after immersion in the developer, or increase 
exposure if it takes more than two minutes to become 
visible. 

The developer will serve for a certain number of 
square inches of paper and if overworked will spot, 
stain, cease to work or otherwise buck and tell you it 
is worn out. Developer is cheap compared with paper, 
and it is better to throw away developer that has done 
its work than to throw away spoiled sheets of paper. 

In working for diffused focus effects remember that 
lack of definition is not diffusion. A good diffused 
enlargement shows a satisfying outline or drawing- 
underlying the dissolved or diffused lights and shades. 
Too often unfortunate accidents of poor focusing or 
bad negatives are made into a boast. Mushing up a 
picture does not necessarily mean making a work of 
art. 

If you intended the enlargement to be diffused and 
it is well done you have succeeded. If you meant it to 
be sharp and clear and it turns out mushy, you have 
failed, and no amount of fancy titling can reclaim it. 
You cannot even fool the novice. Do it over, and do it 
right. 

WRINKLE FOR MAKING ENLARGEMENTS* 

By L. C. Ferguson 

The following method for making enlargements will 
doubtless be of interest, as it enables the photographer 
to obtain GOOD enlargements every time, with no 
waste of paper. No trial exposures or guesswork enter 
into the scheme. 

The apparatus consists of the usual enlarging camera 
and easel. The easel, however, is covered with oil-cloth. 
The rest of the apparatus consists of a broad camel- 
*From January, 1928, Camera Craft. 


— 65 — 



Amateur Enlarging 


hair brush and a dish of developer, together with the 
usual enlarging paper. To make the enlargement, put 
the negative in the camera in the usual way and focus 
on the easel to the size desired, and mark the position 
with thumb tacks. Turn off the light and fasten the 
paper on the easel. Now dip the brush in the developer 
and swab it on the paper until it is thoroughly soaked. 
Turn on the light and the enlargement DEVELOPS as 
it EXPOSES. Turn off the light every few seconds and 
watch the progress of development by the ruby light. 
Keep swabbing on developer and exposing until com¬ 
pleted. Certain portions of the picture can be held back 
by the application of acetic acid, sparingly applied. 

The advantages of this method are apparent. No 
guesswork, no wasted paper. Pour ounces of developer 
is sufficient to develop three or four 8x10 enlargements, 
or its equivalent. 


Measuring Distances 

It is possible to become quite accurate in measuring 
distances while making exposures by training the eye 
with continuous practice to gauge a certain number of 
feet. Thus, if you will decide on six feet, let us say, 
and try again and again, in different places and under 
different conditions of surface and light, you will soon 
find it a simple matter to measure ten feet by sighting 
at the six feet to which you are used and adding half 
as much and a little more. In the course of time you 
will plump at all sorts of distances up to twenty-five 
or thirty feet, which is all that is needed in ordinary 
photography. Beyond that perspective and illusionary 
shortening of space will deceive you unless you spe¬ 
cially train your eye for that, too. Do not pass this idly 
by but try it. 


—66— 



Amateur Enlarging 


MAKING A PICTURE FROM A SNAPSHOT* 

Illustrated by Dr. Clara J. Stillman 

Sometime last year 
it was my good for¬ 
tune to please many 
readers with what 
was done to and with 
a simple 2 1 / 4x3 1 / 4 
snapshot sent for the 
monthly competition. 
The subject was in¬ 
teresting and the ma¬ 
terial lent itself to 
treatment. Some of 
you may recall the man and boy following a plow, with 
the sunlight shining on them from behind and ap¬ 
parently the sunset in the front. Criticism on this 
“Solecism” came in plenty. The fact is that the sun was 
directly at my back when the cloud negative was made 
and what the critics, justly enough, said was the sun 
was really an opening in the evening clouds through 
which the blue photographed too brightly. 

Lately a friend of Miss Reed’s brought her a little 
snap which she thought might make a picture. By the 
same simple methods I have tried to please her, and I 
hope you. Judge for yourself, and whether or not you 
approve be assured you can do as well or better with 
more time, and greater art. 

The first step was to trim off the non-essentials and 
diverting elements. Next to make an upright of the 
horizontal. Then to work on the terrible wires of the 
fence and the obvious telegraph pole. The wires were 
easily etched out with the proper blade, the pole 
worked on with knife and lead, and then the clouds 
were double-printed in. A clear enlargement having 
*From December, 1927, Camera Craft. 



As It Came to Us 


— 67 — 




Amateur Enlarging 



Non-Essentials Trimmed 


been made it was easy to produce a copy negative from 
which as many duplicate prints as might be desired 
could be printed. 

The trick of double-printing clouds is easy. Just 
dodge the sky while you enlarge the landscape, then 
with a yellow screen over the lens place your cloud 
negative in the enlarger, put the clouds as you want 
them on the final picture, and take off the screen, now 
dodging the landscape. The sky exposure must of 
course be much shorter than the landscape and a slight 
out of focus or diffused image of clouds is, to my mind, 
most acceptable. 


— 68 — 





Amateur Enlarging 



Clouds Printed In 


The print is by Dr. Clara J. Stillman and as the idea 
and sentiment it conveys are hers, mine was merely 
the privilege of doing a little mechanical work that has 
perhaps carried her message more effectively. 


Note that the telegraph pole might almost he accepted as a tree 
trunk in the final print. More could be done in that particular but 
this 'will show the possibilities. 


— 69 — 




Amateur Enlarging 


HOW I MADE AN ENLARGING BOX FOR 
MY CAMERA* 

By Harry B. Bradford 

With Illustrations by the Author 
Few boys progress far in photography before they 
become dissatisfied with the small pictures usually 
produced by the cameras which they first purchase. A 
camera which will take a large picture is quite expen¬ 
sive, to say nothing of the plates, paper and other 
necessaries required for the finished pictures. Then, 
too, we don’t care to take all our pictures as large as 
6x8 inches—we want enlargements of only our best 
ones. Taking these things into consideration, I think 
many boys, who are fond of picture-making, will appre¬ 
ciate a good enlarging outfit, and I am sure that any 
one who has tried to darken a whole room for this pur¬ 
pose will enjoy the luxury of this enlarging box. In¬ 
stead of darkening a room, as is usually done, only the 
small space required to be dark is enclosed in this box. 

While - enlargements may be made with almost any 
camera, one with a bellows, and an easily removable 
back, is preferable. I will describe the box I have made 
to suit my “Pony Premo No. 4” camera, square back, 
and of 4x5 size. As exact dimensions must vary accord¬ 
ing to the kind of camera one uses, and the size of 
enlargements desired, I will only give a few, which 
describe my particular box and its fittings. 

Fig. 1 shows the whole scheme in a nutshell. The 
camera, on a stand made for it, has its lens tube or 
“hood” stuck into the mailing tube projecting from 
the front board of the enlarging box. The back of the 
camera, which holds the ground glass and plate holder, 
having been removed, a negative holder, holding a 
negative, is put in its place. 

The outfit is placed upon a smooth board or table, 
and placed up close to a window upon which the sun 
*From July, 1924, Camera Craft. 


— 70 — 



N L A R G I N G 


Amateur E 































































Amateur Enlarging 



shines directly. A piece of tissue paper (onion skin) 
about 12x16 inches, is attached to the window pane 
(with passe partout binding strips) directly back of 
the camera, which is placed six inches or less from the 
window glass. This paper is used to diffuse the strong 
sunlight before it comes through the negative. A sheet 
of bromide, or other suitable paper, is placed in one of 
the paper holders (Fig. 8) while in the dark room, just 
as a plate is loaded into a plate holder. This paper 
holder is then placed in its grooves in the back of the 
enlarging box, for exposure to the image reflected 
through the negative and lens of the camera. After 
exposure, the slide is pushed^ down to cover the paper, 
when the holder is removed and taken to the dark 
room for development. During focusing on the ground 
glass (Fig. 7) a large opaque cloth is spread over the 
whole box and camera, except the back of the camera. 
Some weight is placed on the front section of the en¬ 
larging box, at No. 7 (which shows the length of front 
section), and the back part (No. 5) is moved to or from 
the lens, for focusing on the ground glass. This opera¬ 
tion is accomplished by aid of the telescoping sliding 
inner sides, shown at “T” “T.” An end view of the • 
box is shown at “B,” and a section of this below at 


— 72 — 










Amateur Enlarging 



“C,” showing grooves for 
the ground glass frame 
and paper holders. Fig. 5 
gives a perspective view 
of the outfit with holder 
and ground glass removed. 


The camera, being on 
the outside of the box, is 
easily adjusted as to bel¬ 
lows length and dia¬ 
phragm during focusing. 


4 - 


Now for details as to its 
making. Select the best box 
(from your grocer) you can 
find, of about the dimen¬ 


sions given in Fig. 2, and if it has no top or cover— 
make one, whether for its top, side or front, as it must 
be all boarded up. Now mark around each side of this 
box, as indicated by dotted line in Fig. 2, and cut it in 
two as accurately as possible, sandpapering the edges 
afterwards. Have these two parts in about the propor¬ 
tions indicated, the front being longer. 

The next article needed is a stout piece of mailing 
tube, 2 y 2 or 2J4 inches in outside diameter. Cut a 
cylinder from this about 3inches long, then cut two 
circular discs to fit in one end of it. The best material 
for other needed parts, as well as these discs, is “pulp 
board.’’ This comes in large sheets about 24x48 inches, 
and the No. 20, which should be used, is inch in 
thickness. This is much easier to work with than wood, 
and will not warp or shrink. It may be had from any 
large dealer in paper. After cutting the discs, glue 
them together, and when dry cut a hole in the middle 
large enough to admit the lens hood of your camera, 
making a loose fit. 

Several sheets of black carbon paper, such as pho¬ 
tograph albums are made from, should be next pro- 


— 73 — 





Amateur Enlarging 



vided. Paste a circular piece of this paper over the 
face of the disc, cutting a small hole in the center and 
snipping its edges to form teeth, which are to be 
pushed back through the hole, forming a surface 
which will hold the camera lens firmly. Paste the edges 
of disc and fit it into the end of mailing tube, black 
paper facing outward, as shown in Fig. 3. (Higgins’ 
“Drawing Board” paste is best to use for all pulp 
board.) When disc is dry, paint all within mailing 
tube a dead black with India ink. Now cut a circular 
hole in the front of your box, into which the mail tube 
will fit snugly (see Fig. 2). Push the tube half way 
through this hole, then give your attention to the back 
part of your box. Cut an opening in this 6^x8y 2 
inches, or build it in as shown in Fig. 1, B. Next, either 
line the whole interior of the box with your black 
carbon paper, pasting it in, or stain the interior black. 

A sheet of double-faced, corrugated board, which 
comes one yard square, is best for the sliding telescopic 
part, although pulp board might do. Before bending 
this, cut outer edges with a knife, using a strip 9 inches 
in width and long enough when formed into a square 


— 74 — 























Amateur Enlarging 


to fit into the rear section 
of your box. Join outer 
edges, where boards come 
together, with passe par- 
tout, also bind all other 
outside edges or corners, 
except those numbered 1, 
2, 3 and 4, Fig. 4. Along 
the inner angles of these 
boards paste strips of 
black carbon paper as 
shown in Fig. 4. When 
this slide is done, and dry, 
push it into the rear box 
part, allowing only six 
inches to project outside, 
evenly all around. Fasten 
this firmly in place by several tacks, an inch or so from 
its rear edge, in all four sides. (The edges unbound 
with passe partout [1, 2, 3, 4] go inside the box.) 
When this is done, see if it will fit well and slide 
smoothly into the front section of your box, as shown 
in Fig. 5. 

Cut out a negative holder next, from pulp board, 
the outer part of which must fit the back of your 
camera exactly, when its own back is removed. In the 
center of this cut an opening to fit the size negatives 
you want to enlarge. This done, paste a pulp board 
strip along each side of this opening, at the back, 
having them project inwardly of an inch. On the 
front side, paste a block (“A,” Fig. 6), at the right, 
and a button “B” at the left, to fasten in the negative. 
Fig. 6, top view shows how button is fastened on with 
a bent pin. Paint all front face of this with India ink. 
The black side must face in the camera. 




6 


— 75 — 



















Amateur Enlarging 



7 


Next get a piece of ground glass 8x9 inches, which 
is half an inch larger each way than the largest pic¬ 
tures this size box will make. Cut a pulp board frame 
for this glass wide enough to fit the inner space of rear 
section of your enlarging box, and long enough to 
project two inches above the top of the box. Then cut 
two more frames, having the same dimensions on the 
outside, but the inner openings 63 / 2 x 8 % inches—the 
exact size of your largest pictures. Paste one of these 
frames on each side of the first one holding the ground 
glass, and an important part is done. (See plan and 
sectional view of this in Fig. 7.) The thickness of this 
will be three-eighths of an inch, as it is three pulp 
board thicknesses. The paper holders must be the 
same thickness, and it is well to have several, for 
obvious reasons. To make them, cut a piece of pulp 


— 76 — 






















A m ateur Enlarging 



board 10% inches in 
length, and as wide as 
the outside width of the 
ground glass frame, 
then cut a piece of 
cardboard the exact 
size of your pictures— 
63 / 2 x 8 ^ inches — place 
it one inch from the 
bottom of your board, 
leaving equal margin 
on each side. Mark 
around all sides of it, 
and then cut strips to 
bind this pencil line 
you have made at sides 
and bottom. Extend 
side strips iy 2 inches 
above upper pencil line, 
and fit them well at 
bottom crosspiece. (All 
inner edges should be 
sandpapered smooth be¬ 
fore pasting in.) Next 
cut three more strips, 
wide enough to overlap 
the first ones one-eighth 
of an inch and paste 
them over the first 
ones so they overlap, 
inwardly, one - eighth 
of an inch at sides 


—77— 





















Amateur Enlarging 


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78 

















































Amateur Enlarging 


and bottom. Two black carbon paper strips are pasted 
across near the top, the under one one-eighth and the 
upper one one-sixteenth inch from the pencil line 
bounding the top edge where the paper will come. A 
nick in middle of lower strip allows the paper to be 
taken out easily. These strips hold the paper in place 
when slide is drawn up. (Figures 8 show perspective 
view of slide, partly open, “A,” front view with slide 
off, and top “C” and “G” shows view of back of 
slide.) 

Now cut a slide to fit the grooves of the paper holder 
“B,” making it long enough to extend two inches 
above its top. Sandpaper and bevel its edges so it will 
run smoothly in the grooves. This slide fits the first 
strips pasted on; now make another piece to fit the 
upper strips, and paste it on the slide so it will come 
about one inch from the bottom and half more from 
the top. Put a strong string or cord in the top to draw 
it up by. Mark a point k,” shown in plan “C,” one- 
quarter inch below the cross line, and put in slide and 
push it down till its bottom edge comes to this mark, 
then turn, while holding it there, and draw a line across 
the back along top edge of back of holder. Draw a 
large “V” on this line, as shown in “G,” Fig. 8. When 
making the exposure, the appearance of this V on the 
back indicates how far the slide must be drawn to 
cover the top of the paper one-quarter of an inch, and 
hold its upper edge. In using this holder, which is 
inserted in box after correct focus has been made on 
the ground glass, it is only drawn till this “V” line 
appears. This method serves two purposes—it holds 
the top of the paper in place, and blocks the passage 
from light which would enter if the slide were drawn 
entirely out. A small pulp board wedge at back of 
holder, when slide is drawn for exposure, holds slide 
in place during exposure. 

Now that the ground glass, frame, and the holder 


—79— 



Amateur Enlarging 


are finished, a slit to receive them is cut at the top and 
back part of the box, as shown by black line in Fig. 5. 
A piece or strip may be taken off clear across the back, 
if desired, instead of copying illustration. Next fit side 
and bottom grooves of wood, rounding the upper near 
edge of the lower groove. Fig. 1, “C,” shows section 
of these grooves, when slide is not quite as wide as 
width of box. The bottom and side edges of both 
ground glass frame and paper holder should be well 
rounded by using sandpaper. If well done, the three 
layers will appear as one solid piece. The small camera 
stand is securely attached to front board of box with 
hooks and screw eyes, shown in Fig. 1. If any light 
comes through around tube in front board, tie a soft 
black cloth around mail tube on the outside of box. 

Slow papers as well as fast ones may be used in this 
box with perfect success. If your camera bellows is 
too short, slip a ‘‘portrait’’ cap lens on the lens hood 
of your camera. This will shorten the focus so images 
will appear sharply on the ground glass. 

The camera, its stand and the paper holders may all 
be packed inside the enlarging box when not in use. 


ENLARGING OUTFIT FOR V. P. NEGATIVES" 



—80— 































Amateur Enlarging 



There will be no need to indulge in text, mainly 
abstractions and amplifications of the plain directions, 
so let us briefly and immediately get to the specifica¬ 
tions and diagrams. 

A is an iron box 1x10x10 inches with a 6-inch hole 
cut in the center of one side. And ten 24-inch holes 
cut in the same side for ventilation. Cover the upper 
five inches with a hood, riveted to the back as in X. 
Cut a hole in the center of the other side a little smaller 
than your flashed opal glass. Fasten six small rivets 
as at Y in No. 2 to hold the glass loosely. 

B is a frame just large enough to take the camera, 
made of 24x24-inch stuff, except B, which is a board 
24x8x10 inches; fasten this to A so opal glass comes in 
center of the frame. 

C is a 4x5-inch camera, without a back or a lens. 

D is a V. P. special, with the small circular back re¬ 
moved and fastened to the lens board of C with two 
rubber bands. 

E is a table leaf. 

F is the easel, made of nine pieces of 24 x 24-i nc h 
made so as to fit snugly on E, the two uprights being 


—81— 












Amateur Enlarging 


five and one-half inches apart or just enough to hold 
a 3y±x5y 2 -inch printing frame. On the face of these 
two uprights are holes (to take the bent nails G) to 
hold different sized printing frames. 

H is a Hubbel desk lamp reflector, fitted with a 100 
W stereopticon nitro lamp; it is fastened to the back 
of A with three stove bolts. 

I, No. 3, is the kit, to hold the negative made of two 
pieces of cigar box to fit the back of C (a 1^x2^- 
inch hole in one, l^x2^-inch in the other) glued 
together, two pieces of thin glass 1^4x2^ inches and 
two brass clips to hold them. 

I insert this kit by sliding C out of B, put in the kit 
and slip it back into place. 

This outfit will print a three-time enlargement on 
Arturo Carbon Black from an average negative in from 
two to three minutes. 



—82— 







































San Francisco 
Camera Exchange 

Herbert Luhn, Proprietor 

88 Third Street San Francisco, Calif. 


you want we have and at 
honest prices, with unquali¬ 
fied guarantee 

you no longer need we will 
buy at a fair valuation or 
exchange for what you do 
need 

we have or can get for you, 
if it is photographic and re¬ 
liable. We deal only in what 
we can guarantee. 

For Your Enlarging 

We are prepared to supply chemicals, bromide and 
chloride papers, and high grade lenses at a bargain. 

We specialize in MEMO and LEICA Cameras, 

Supplies therefor, and in making enlarge¬ 
ments from their negatives. 

S. F. C. E. SERVICE 
is known from Coast to Coast 
88 Third Street 
San Francisco, California. 


Everything 

Anything 

Anything & 
Everything 


— 83 — 








Universal Enlarging 


Apparatus No. 35475 


' See Page Number 15 


T HIS apparatus is adjustable so that enlargements can 
be made of any desired size up to 11 x 14" and 
even larger. The lamp housing holds an opal glass 
bulb 60 watt and in conjunction with the special con' 
denser, perfect diffusion of film grain is obtained. 

The negative film is held between two optically plane 
glass plates and either part or the entire negative can 
easily be placed centrally for enlarging. 

The highly corrected objective of 50mm. focal length 
having a relative opening of F: 3.5 insures clear definition 
to the very edge of the field and its speed reduces the 
time of exposure to approximately 10 seconds or less for 
average negatives. A supplementary base board with 
hinged glass plate is provided to hold enlarging papers 
up to 8 x 10" perfectly flat; for larger size papers, this 
board can quickly be removed and the former are placed 
directly upon the base plate of the apparatus. For ex- 
treme enlargements, the lamp housing can be turned 
around its vertical pillar and the lens can be focused 
upon large sheets placed below and at a greater distance 
than the base plate of the apparatus. 

This outfit can also be furnished with a lens of 70mm. 
focal length F: 3.5 and equipped with iris diaphragm, 
this arrangement increases the depth of focus consider¬ 
ably and satisfactory enlargements can be made from 
negatives which are greatly under exposed. 

The above enlarger can also be used for reproduction 
work by means of an additional sliding arm to which the 
Leica camera can be attached. Three supplementary 
lenses are available to cover objects of various sizes and 
with the printed tables furnished with these lenses, the 
apparatus can quickly be set so that the entire negative 
will be filled with the image of the object to be photo¬ 
graphed. For Literature Write To: 


E. LEITZ, Inc. ^ 


60 E. 10TH ST., N. Y. 


Western Agents:— 

SPINDLER & SAUPPE, offices at San Francisco and Los Angeles 


— 84 — 










Small Enlarging 
Apparatus No. 35455 

See Page Number 14 

A MOST convenient outfit to prepare “Post' 
card” size prints from Leica negatives. 

It consists of a strong wooden box with spe' 
cial 64mm. objective well corrected and in fixed 
position. The front board is provided with the 
opening for the negative which is placed under an 
optically plane glass plate thereby holding the film 
entirely flat so that every part of the picture is in 
complete focus. 

The opening of the metal frame holding the film 
under the glass plate serves also as a mask so that 
enlargements with well defined border lines will be 
obtained. 

The back of the wooden housing is provided with 
a hinged door and the receptacle or space for en^ 
larging paper cut to postcard size; with the door 
closed, the paper is held perfectly flat. 

This enlarger can be used for daylight or with a 
convenient attachment for artificial light. The lamp 
attachment includes a 100 watt bulb of opal glass 
which forms a uniform source of light and elimin' 
ates the grain of the film entirely. For average neg' 
atives, the time of exposure required is about 10 
seconds. 

For Literature Write To: 

E. LEITZ, Inc. 

60 E. 10TH ST., N. Y. 

Western Agents:— 

SPINDLER & SAUPPE, offices at San Francisco and Los Angeles 



—85— 




The ,—' 

Camera 
Craft 

Magazine 

is a beautiful monthly 
devoted to telling you 

How to Produce Good Pictures 

Many of the best enlargements are reproduced 
during the year. 

It is rich in helpful, instructive material, formulae, 
and methods that make the camera a joy 
for the amateur. 


CAMERA 
|CRAFT 

5 ® 

ry 



SAN FRANCISCO 

CALIFORNIA 


A special department is devoted to THE AMA¬ 
TEUR AND HIS TROUBLES. 

United States and possessions #2.00; Canada #2.25; 
other foreign countries #2.50 

Sample Copy on Request 

Camera Craft Publishing Company 

703 Market Street San Francisco, California 


—86— 

























For Enlargements of 
Contact Quality 

1 1 

S KILLFUL exposure and manipulation 
will work wonders with any pro- 
jection medium, even if it lacks the 
latitude of a contact paper. 

But why go through such discomforts? 

Take a ride in a welhpowered car 
with smooth spring suspension and you 
won’t be happy nursing your old bus 
over difficult grades. 

Ansco Bromide and the various sur- 
faces of the Enlarging Cyko group com¬ 
bine projection speed with the latitude 
and manipulation convenience of a fine 
contact paper. 

Agfa Ansco Corporation 

BINGHAMTON, N. Y. 


—87— 






The Camera Craft 
Universal 
Exposure Meter 

James Karuza, Inventor 

Covers Cine and Still exposures 
of every kind. 

Correctly exposed negatives make good 
enlargements. 

Disappointment and Spoilage cost as much 
as successful exposures. 

Give this meter a chance to solve the 
exposure problem for you. 

C A booklet and a serviceable 'll 
cloth envelope make this meter L 
easy to use and easy of access. JJ 

Price ^2.00 
at your dealer or from 

Camera Craft Publishing Company 

703 Market Street San Francisco, California 


—88— 











HEADQUARTERS 

for 

EVERYTHING PHOTOGRAPHIC 



Used by the 

Amateur and Professional 
Photographer 


Cameras, Accessories, Chemicals, Enlarging 
Apparatus, Developing, Printing and Enlarging 




ENLARGING PAPERS 


made from the celebrated Wellington Emulsions 
Ask your dealer for our 
BROMOIL CHAMOIS AND 

CREAM CRAYON TORCH BROMIDE 

Grades—Smooth, Rough and ’Xtra Rough Single and double weight 
Your enlargements will have a quality of which 
you will be proud. 

Send for Wellington Handbook Free— also our new catalogue. 

MEDO PHOTO SUPPLY CORP. 

323-325 West 37th Street, New York, N. Y. 

U. S. Agents for Wellington Products 


— 89 — 
















The Second Edition 

of the 

Photographic 

Workroom 

Handbook 

By Sigismund Blumann 
Editor of Camera Craft 


Is Ready J\[ow! 

Nothing but essentials, nothing untried and nothing 
but what may be of constant use is in its pages. 

It is just what its name implies, a book for 
your workroom. 

A handy book for what you want is right 
at hand when you want it. 

Enlarging formulae among the rest. 


Cloth bound #1.00 
at your dealer or from 


Camera Craft Publishing Company 

703 Market Street San Francisco, California 


1 



a 

? 

a 


PHOTOGRAPHIC 

WORKROOM 

HANDBOOK 

O&SMUND BLUMAKM 


i 



CAMERA 

CRAFT 



* 

* 

i 


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m 




<A««AC*A> 

t 


i 


CtOMtaCrtftPublull lng Company 


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— 90 — 





















For Perfect Pictures 



( Call it /<j\ Gau-\>ert) 


Novabrom 

For the Best Enlargements 


A Fast General Purpose Bromide Paper. 
Requires no Special Developer. Supplied 
in two Grades: Normal and Extra Vigor¬ 
ous and in a Variety of Beautiful Sur¬ 
faces. For Bromoils Advanced Amateurs 
Prefer: 

K 14— D.14 / . White Coarse Matte 
K 15— D.W Buff Coarse Matte 

Other Surfaces Popular with Pictorialists 
are K5, K7, K16, K17, K18. 


Descriptive Catalog on Request 
Address Dept. No. 4-B 

THE GEVAERT COMPANY 

OF AMERICA, INC. 

423-439 West 55th Street 

NEW YORK CITY 

Branch Offices: 

Chicago, 111. Portland, Ore. 

413-21 N. State St. 345 Salmon St. 

Toronto, Can. 

347-49 Adelaide St., W. 


Manufacturers of Photographic Products 
for more than a Third of a Century. 


— 91 — 






Velour Black 

For Prints by Projection 

No paper on the Defender list has been more 
widely acclaimed than Velour Black. 

Its beauty of tone, tint and surface and the 
fidelity of its rendition of negative value, at' 
tracts an evergrowing number of enthusiastic 
users, both professional and amateur. 

Velour Black has the ideal combination of 
speed and scale; the utmost in simplicity. 

Velour Black (Regular) is made in twelve sur 
faces including the distinctive Sil\ and Veltex. 
Contrast Velour Black—for difficult negatives 
—is supplied in Matt, Sembmatt and Glossy. 

Defender Photo Supply Company 

INCORPORATED 

ROCHESTER, N. Y. 



— 92 — 






. 






































































